Members Area
Members Area
42nd Street
Bridgwater Operatic Society
The McMillan Theatre
Bridgwater
Saturday 6th May 2017
Musical Theatre is a funny old thing: It might be possible to become blasé and even a little jaded by it (I lost count some time ago, of the number of shows I’ve seen) and then, occasionally you see something that picks you up, dusts you down and starts you all over again. Bridgwater Operatic’s 42nd Street, complete with enough tap to satisfy even the most energetic bathroom fitter, principal players full of talent but above all, a chorus who took the breath away, came close to making this crusty-old reviewer with two left feet, ball-change, slap-step and shuffle back to my car.
Highly regarded Director, Brian Epps had breathed lightly on the form and structure of the show, respecting the original’s feel and energy. He delivered a smoothly, free flowing, pacey product. The story, such as it is (42nd Street was never a hard-hitting social commentary) of the ingénue Peggy Sawyer arriving, starry eyed in the big city and stepping into the big time when the leading lady is injured, was simply and clearly told. Very rapid scene changes, enabled by flying backdrops and slick cloth sweeps allowed the action to run uninterrupted, the energy never dissipated. The result provided a strong, easy-on-the-eye structure into which slotted the songs and stunning dance numbers.
The enormous task of choreographing the show fell to Shelley Smith. If a Director needs to really depend on a Choreographer, and in 42nd Street he certainly does, then who better than his own daughter? Any nasty thoughts of potential nepotism disappeared in a puff of shameful smoke as the opening-number curtain rose to knee-level, giving us the iconic view of a line sharply co-ordinated dancing feet. Dance throughout the show was joyous and spectacular. Complex movement of what looked like at least a hundred dancers (probably closer to twenty, if truth be told) in beautifully synchronised patterns, tapping in splendid
simultaneity was the order of the day. The spirit of Busby Berkley surely lives on in Ms. Smith!
The leading performers did themselves proud: Mike Purnell, marked his return to the musical theatre stage after some time away with a masterful presence as Julian Marsh; Maureen Wycherley brought her lovely voice to the ‘mature’ star Dorothy Brook; Floss Berry really showed her talent in her performance as Peggy Sawyer never giving any hint that this was her debut lead role; James Venning overcame what sounded like a slightly ‘worn’ voice to bring us Billy Lawlor and Clare Hunter as Maggie Jones simply shone with the joy of doing what she was doing.
Supporting players stepped resoundingly up to the mark too. This is a huge cast so I will not name everyone but everyone should be very proud of their input. It was however the Chorus numbers that set the theatre alight with their breathtaking, sparkling spectacle. Great, sweeping lines of dancers shimmering through routine after routine with apparent ease must reflect a phenomenal amount of work in rehearsal. The sheer fitness required dancing We’re In the Money, stepping on and off giant coins, never mind the high energy finale routine, plus singing, plus smiling: Wow!
And then there was the band. Under MD Tony Pomeroy’s very experienced leadership the twelve-strong, brass-heavy orchestra even managed to sound like they were having a great time. There was a controlled ‘relaxed’ about the sound that suited the piece perfectly. I am honored to have seen Saturday’s show as it marked Tony’s final performance as Musical Director. He has been a huge presence for Bridgwater in particular and Musical Theatre in our region in general and will be sorely missed. This was a terrific swansong.
I cannot claim that every moment of the show was perfect: The bar room scene featuring Dorothy in a ‘hotel room’ above the stage was well conceived but I found the scene a little unfocussed and the movement on stage whilst Dorothy was talking was a little distracting. I wonder if a sharper lighting differentiation or even a ‘freeze’ might have been effective. This was, of course a minor negative and in no way spoiled a very strong show.
Bridgwater should be very proud of a sparkling show across the board. The audience was buzzing and I am sure that the cast and production team will take days to ‘come down’ from the high of the production.
Thanks for inviting me